Raiders of the Lost Ark: Perbedaan antara revisi
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[[John Williams]] menjadi komposer bagi film ini. Ia mengatakan musik tidak harus serius untuk film dan malah harus teatrikal dan berlebihan.<ref name="EmpireOralHistoryPage5"/> Williams spent a few weeks working on the Indiana Jones theme, more commonly known as "The Raiders March" that plays during the main character's heroic scenes. Two separate pieces were played for Spielberg, who wanted to use both. These pieces became the main theme and [[bridge (music)|musical bridge]] of "The Raiders March".<ref name="EmpireWilliams"/>
== Rancangan ==
=== Pemeran pengganti ===
[[File:Disneyindytruck1.jpg|thumb|alt=A photograph of a 1930s-era Mercedes-Benz truck used in the film on display at Disneyland in California|A film-used 1930s Mercedes-Benz 2.5 ton diesel truck on display at [[Disneyland]], California]]
The Peruvian temple interiors were life-sized sets.<ref name="EWOpening"/><ref name="ASCMag"/> The giant boulder—made of fiberglass, plaster and wood—was designed to be {{convert|65|ft|m|abbr=on}} wide, but this was reduced to {{convert|22|ft|m|abbr=on}} weighing {{convert|300|lb|kg|abbr=on}}.<ref name="EWOpening"/><ref name="Cinephilia"/><ref name="ASCMag"/> Spielberg liked the effect and had its ramp extended to give it more screen time.<ref name="EWOpening"/> The boulder was controlled by a steel rod concealed in the wall by rubber rock outcroppings.<ref name="ASCMag"/> Ford performed the stunt ten times for the different camera angles. Spielberg said he was an idiot for letting Ford do it, but it would not have looked as good with a stuntman concealing their face.<ref name="Cinephilia"/><ref name="ASCMag"/> Ford performed as many of his stunts as was allowed throughout ''Raiders'', suffering various injuries.<ref name="MovieFone"/><ref name="EmpireOralHistoryPage4"/> The tarantulas on Molina's body would not move because they were male and non-aggressive. A female spider was put on his chest to encourage movement.<ref name="EWOpening"/><ref name="NYTimesSerials"/><ref name="MovieFone"/> Abandoned ideas for the temple included a crushing wall trap and a pit concealed by spider-webs. The golden idol also had mechanically operated eyes that could follow Jones.<ref name="EWOpening"/> For the last part of the scene where Jones flees by plane, the first take ended in near-disaster when the plane crashed from a height of {{convert|20|ft|m|abbr=on}} because Ford's dangling leg was blocking the aircraft's right flap.<ref name="Cinephilia"/>
Filming of the Well of Souls scene was delayed initially by a lack of snakes. There were 500–600 snakes to use for close shots and some mechanical snakes for wider shots, but Spielberg wanted more. A request was made to snake handlers from around London and Europe who produced between 6,000 and 10,000 snakes in a few days.<ref name="timeSlambangPage1"/><ref name="MentalFloss20"/><ref name="EmpireOralHistoryPage4"/> Afterward, they struggled to obtain anti-venom, and local supplies had expired; it had to be imported from India.<ref name="NYTimesSerials"/> The stage doors were kept open during filming for quick access to a waiting ambulance.<ref name="Cinephilia"/> Spielberg recounted that Allen was so scared she could not scream on cue. He dropped a dead serpent on her to elicit a genuine reaction.<ref name="NYTimesSerials"/> Allen said she got used to the creatures after 3–4 days.<ref name="WAPOAllen"/> Animal handler Steve Edge donned a dress and shaved his legs to stand in for Allen at specific points.<ref name="Cinephilia"/> Vivian Kubrick's complaint to the RSPCA about the perceived poor treatment of the snakes required production cease while safeguards were added.<ref name="Cinephilia"/>
Reynolds and production artist Ron Cobb created the BV-38 flying wing based on the [[Horten Ho 229]], the [[Northrop N-1M]] and the [[Vought V-173]].<ref name="FlyingWing2"/><ref name="FlyingWing"/> Constructed by the British engineering firm [[Vickers]], it was dismantled and shipped to Tunisia.<ref name="Cinephilia"/> It was not designed to be flight-worthy, only to serve as a source of danger from its propellers.<ref name="ASCMag"/> The plane was abandoned in Tunisia and slowly dismantled over the following decade by souvenir hunters before being demolished.<ref name="FlyingWing2"/><ref name="FlyingWing"/> The fight between Jones and the German underneath the plane was mainly improvised; Spielberg had to restrain himself from making it too long as each new idea led to another.<ref name="EmpireOralHistoryPage4"/> During the fight, the moving vehicle rolled over Ford's foot and towards his knee before it was stopped. It took 40 crew members to move it off of him. He avoided injury through a combination of the extreme Tunisian heat making the tire soft and the ground being covered in sand.<ref name="Cinephilia"/><ref name="ASCMag"/> Dysentery had left the production with a lack of stuntmen, and Spielberg had Marshall stand in as the flying wing pilot. The three-day shoot was one of Spielberg's more difficult scenes to film, and he was reported saying he wanted to go home.<ref name="EmpireOralHistoryPage4"/><ref name="LAWeekly"/>
Second unit director [[Michael D. Moore]] filmed most of the truck chase. Spielberg had not used a second director before but agreed to it as the scene would take a long time to film being set in multiple locations. Moore completed wider shots where stuntmen stood in for Ford. He closely followed Spielberg's storyboarding but innovated a few shots Spielberg considered improvements.<ref name="Cinephilia"/><ref name="ASCMag"/> Stuntman Glenn Randall suggested the scene of Jones traversing the underside of the truck.<ref name="ASCMag"/> Ford sat in a concealed bicycle seat attached to the truck underside when clinging to its front.<ref name="Cinephilia"/> One of the convoy cars going over a cliff was a combination of matte painting background and [[stop motion]] animation of miniature figures falling out of the car.<ref name="ASCMag"/>
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